The Jazz Guitar Chord Dictionary
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  1. #1

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    .......and some single note playing.

    Lately I've been doing some day dreaming about vintage acoustic archtops. It seems like the main characteristics that everyone discusses and is looking for is a strong comping voice. Is it a cannon, does it bark, Freddie Green, etc, etc. I don't hear as much about how warm they are and how good they would be for acoustic chord melody and some light single note work. This is what I would potentially be interested in down the road. I've played an L-7 from the 50's I believe, but it seems like the older ones are a bit different.

    ANyway, was wondering what are some of the models that you guys like that fit the description I mentioned above. Again, VINTAGE only. Not interested in Eastmans, customs etc. at this point.

    Thanks!

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    The Jazz Guitar Chord Dictionary
     
  3. #2

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    Budget?

    I'd be after a 16" L5.

    D'Angelico's would probably be just perfect too.

  4. #3

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    Quote Originally Posted by mr. beaumont
    Budget?

    I'd be after a 16" L5.

    D'Angelico's would probably be just perfect too.
    I have three non cut DA's and a friend has a 1927 L-5. I can report that all 4 of our guitars are perfect for chord melody work and everything else. They don't come cheap, but imo, Jeff's post is spot on.

  5. #4

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    if money is an issue, an old Epi Triumph or Broadway would fit the bill.
    heck even some of the lower line vintage Epi's sound great.

  6. #5

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    UPDATE:

    Budget is less than an L-5, D'angelico, etc. Let's say under 4k.

  7. #6

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    Quote Originally Posted by DMgolf66
    UPDATE:

    Budget is less than an L-5, D'angelico, etc. Let's say under 4k.
    A Gibson L7 fits the bill and personally I generally find Gibsons to have a more refined sound that Epi’s. Not always but some Epi’s can be loud but loud does not equal better sound. Response and warmth are what I like usually it is an even sounding guitar.

  8. #7

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    My '34 L-7 is perfecto. Maybe not the prettiest guitar out there, but . . . mmmm.

  9. #8

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    I just remembered that I have an extra and lovely Advanced Gibson L-12 guitar from '37. I really don't need two of them. They both sound great - you can have one for under 4k. I was planning to put it up for sale here, but January was kind of busy for me, and I haven't gotten around to it yet. Hmmm.. I'll send you a note.
    Last edited by Hammertone; 02-13-2020 at 03:04 PM.

  10. #9

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    I recently heard a guy playing an Epiphone Blackstone (don't know what year, but my guess would be late 40s- early 50s based on looking at some pictures). It sounded beautiful. He was using a DeArmond RC1100, so I didn't hear the pure acoustic sound, but you could tell it was a good one. Prices seem very reasonable on these.

    John

  11. #10

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    I have a 1966 (?) Gibson L50. I haven't so far fully developed its potential. I should pull it out and make a clip. I like the guitar overall. And I really don't care for the "bark" tone others love in acoustic archtops. Chord melody is my main overall interest.

  12. #11

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    Quote Originally Posted by Hammertone
    I just remembered that I have an extra and lovely Advanced Gibson L-12 guitar from '38. I really don't need two of them. They both sound great - you can have one for under 4k. Hmmm.. I'll send you a note.
    ....." Now you tell me - - -"

    ......16 or 17 in. ? Teaser photo maybe ??

    Thanks...

  13. #12

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    17" Advanced Gibson, meaning:
    - x-braced
    - 24 3/4" scale
    - carved top, carved back, solid sides
    - super-comfortable C-shape neck carve - not too big or small

    These guitars are renowned specifically for how warm they are and how good they are for acoustic chord melody and light single note work.
    It's a superb sounding, playing and feeling instrument.

    I have a pickguard for it that is off because it's beginning to gas.
    I also have a new Allparts pickguard that I was going to install, which is still in its package
    The guitar has a hardshell case as well.
    It has original, functional tuners, but I have replacement Waverlys I was planning to install, which are a direct retrofit and vastly superior to the originals.
    It has a replacement rosewood bridge and a replacement tailpiece.
    Frets are in great shape.
    It's a '37, according to the serial #.
    Currently string with a set of Pyramid polished nickel roundwound strings over a round core.
    Happy to provide you with lot more details.
    Here are a few quick pix to give you a general idea:



    Last edited by Hammertone; 02-13-2020 at 03:05 PM.

  14. #13

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    More quick pix (w/adjusted bridge intonation/position):



    Last edited by Hammertone; 02-13-2020 at 03:25 PM.

  15. #14

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    Quote Originally Posted by wintermoon
    if money is an issue, an old Epi Triumph or Broadway would fit the bill.
    heck even some of the lower line vintage Epi's sound great.
    I have a '45 Epiphone Zenith that sounds marvelous (the tone, not my playing).

  16. #15

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    Even though Lou at Guitars n Jazz is known for Eastman and Peerless instruments, he also stocks Vintage Epiphone, Gibson and Guild. I'd sure be spending time there playing as many guitars as I could-they are what? An hour away from you?<br><br>Are you looking for a cutaway or non-cut? Or no preference? Cutaways are a easier sell if you decide to upgrade.<br><br>I'm in the Epiphone camp, my 53 Triumph Regent does fingerstyle very well, however really shines on four to the bar swing material. Lots of folks prefer the L-7, like Deacon Mark says, perhaps more refined. And build quality is probably better. Be aware some Epiphones have a deep V neck profile-some can't get along with it.&nbsp;<br><br>Happy Hunting!<br><br>
    Attached Images Attached Images VINTAGE acoustic Archtop for Chord-melody-epiatsprings-jpg 

  17. #16

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    Quote Originally Posted by Hammertone

    More quick pix:
    Sorry HT I started out looking for a 16 in. w/ those picture frame inlays. That's how I ended up having Mark C build one.

    Thanks.

  18. #17

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    I'm late to the party because I spent all this time typing a response, and the closed my laptop while the post was still being submitted, so it got lost.

    Ok - so the question is whether you're going to play at home, or in (very) small groups, or in otherwise quiet acoustic environments... or not.

    I love playing my 1932 L-5 at home, and in places that are relatively quiet, but it's been quite a while since I've taken it on a gig, instead opting for my 1939 L-5. The 1932 is super sensitive, rich and smooth, perfectly balanced, however all of that lovely tone kinda gets lost when I'm playing in a loud room (say a bar with people talking). My 1939, by comparison, is lovely sounding, but it's definitely got pronounced mid-range peak and lot of extra high end, so it's not as perfectly balanced by itself. But in a loud room, the thing cuts through like a knife, so much so that I almost always bring it instead.

    I had an x-braced 1935 L-12, and I loved playing it at home for solo chord melody stuff, but it's scooped-midrange meant it disappeared in a band context.

    If you're going to play alone, you should totally get Hammertone's L-12. But if not, that "bark" is actually something you'll want even if you're not playing 4-to-the-bar rhythm on it.

  19. #18

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    Quote Originally Posted by Hammertone
    More quick pix:

    Guitars strung but not clipped make me antsy. Do you have both your eyes? Because I would think at least one would've been poked out by those!

  20. #19

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    Jonathan,

    Thanks so much for reply!

    Should've mentioned for everyone that this would be for home use for the distant future. I would submit anyone to the "shot show" of my playing.

  21. #20

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    Quote Originally Posted by Bahnzo
    Guitars strung but not clipped make me antsy. Do you have both your eyes? Because I would think at least one would've been poked out by those!
    I usually clip the strings, or wear a Hazmat suit when I play. This particular guitar came to me this way and I haven't quite gotten to the strings yet, heh. [ed: OK, I was very concerned for your mental health, so, I trimmed the strings and posted new pix.]
    Last edited by Hammertone; 05-25-2020 at 05:17 AM.

  22. #21

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    Quote Originally Posted by Hammertone
    More quick pix:






    On Gibson archtops, the bridge is normally placed at the middle of the F-holes. On this one, it's placed higher up, almost like on a Birdland / 1950s ES350T. Is the bridge just misplaced here, or is the scale length shorter than normal?

  23. #22

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    Quote Originally Posted by oldane
    On Gibson archtops, the bridge is normally placed at the middle of the F-holes. On this one, it's placed higher up, almost like on a Birdland / 1950s ES350T. Is the bridge just misplaced here, or is the scale length shorter than normal?
    The F-holes on this particular guitar are of a somewhat unique shape (compared to the later Gibson shape) and therefor the bridge-placement looks like it's "wrong" - I'm sure the owner has it placed correctly
    and the guitar plays in tune .

    But still, is this the original finish ? If not, maybe the repair-person who did the re-fin also worked on the f-holes and widened them a bit in the center, for reasons unknown.....

  24. #23

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    there is a whole history of relative placement of bridge compared to the F-hole, but it is certain that this is not how it is positioned to have the right pitch

    I think it's more of an aesthetic issue since the lutherie in the violin and strings family

  25. #24

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    DMgolf66, I'm in my solid gold private jet right now beating you to Hammertone's door, so hurry... No, but it's a lovely instrument, and you can save yourself lots of head-/heartache if you buy from a member, no?

  26. #25

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    What are the differences between the L-12 and the L-7?

    I kinda dig the aesthetic of the smaller L-7 with the funky inlays. But thats just my eye talking.